CATALOGUE 

OF  AN 

EXHIBITION  OF  PAINTINGS 
WATER  COLORS  AND  ETCHINGS 

BY 

ANNE  GOLDTHWAITE 


WITH  AN  INTRODUCTION 
BY  MARTIN  BIRNBAUM 


BERLIN  PHOTOGRAPHIC  COMPANY 
305  MADISON  AVENUE 
NEW  YORK  CITY 
1915 


T 


ANNE  GOLDTHWAITE 

SEI.I   rORl  RAH 


CATALOGUE 

OF  AN 

EXHIBITION  OF  PAINTINGS 
WATER  COLORS  AND  ETCHINGS 

BY 

ANNE  GOLDTHWAITE 

WITH  AN  INTRODUCTION 
BY  MARTIN  BIRNBAUM 


OCTOBER  23  NOVEMBER  I  3 

I915 


BERLIN  PHOTOGRAPHIC  COMPANY 
305  MADISON  AVENUE 
NEW  YORK  CITY 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/catalogueofexhibOObirn 


ANNE  GOLDTHWAITE 


NOT  long  ago  there  appeared  in  one  of 
our  daily  papers,  an  article  claiming 
that  if  America  is  to  produce  something  vital 
and  original  in  Music,  the  composer  would  be 
a  product  of  the  South.    It  was  peculiarly 
interesting,  because  just  at  that  time,  an 
<  admirer  of  Anne  Goldthwaite  was  making  a 
'  parallel  claim  for  the  South  with  reference  to 
Painting.  Here  was  a  modest  young  woman, 
?  the  descendant  of  the  old  slave-owning  cava- 
liers of  Alabama,  whose  work  excited  the 
enthusiasm  of  conservatives  and  progressives 
^  in  Paris  and  New  York.    She  was  extremely 
X  fortunate  in  her  training,  for  at  the  very  out- 
V  set  of  her  career,  when  she  came  to  New 
"^^^  York  more  than  fifteen  years  ago,  she  became 
;  the  pupil  of  that  rigid  disciplinarian  and 
-V  inspiring  teacher  Walter  Shirlaw.    He  was 
a  man  who  emphasiz^ed  the  difference  between 
painters  and  artists,  who  never  allowed  his 
students  to  be  led  astray  by  false  lights,  and 
never  gave  encouragement  to  sham  talents. 
In  those  days,  however,  it  was  mistakenly 


3 


regarded  as  almost  essential  to  an  artist's 
success,  to  breathe  the  atmosphere  of  Pans  or 
some  other  European  art  centre,  and  accord- 
ingly after  a  few  years  experimenting,  we  find 
her  in  1Q07  drifting  about  in  the  FrcnchCapital 
from  one  teacher  to  another.  None  of  them, 
however,  took  the  place  of  Shirlaw  of  whom 
Miss  Goldthwaite  still  speaks  with  reverent 
enthusiasm,  and  she  found  no  one  to  help  her, 
until  she  became  one  of  the  organizers  of  the 
Academie  Modcrnc.  At  that  time,  Cezanne 
was  still  living,  Gauguin,  fresh  from  Tahiti, 
was  making  his  first  great  sensation,  Impres- 
sionism was  dethroned,  "Lcs  Fauves"  made 
their  triumphant  appearance,  the  Autumn 
Salon  was  just  beginning  to  be  firmly  estab- 
lished, and  the  young  aspirants  heard  count- 
less theories  and  preachments,  so  strange, 
novel  and  exciting,  that  confusion  was  natural 
and  inevitable.  Accordingly,  a  small  group 
of  artists,  of  whom  Miss  Goldthwaite  was  one, 
agreed  to  meet  at  86  Notre  Dame  dcs  Champs 
for  the  purpose  of  trying  to  solve  their  ditii- 
culties.  David  Rosen,  that  solid  painter  of 
Brittany  and  her  fishermen,  now  sojourning 
in  this  country,  became  their  guiding  spirit, 
and  they  asked  Charles  Guerin  the  President 
of  the  painters  section  of  the  Autumn  Salon, 


4 


to  come  in  at  regular  intervals  and  critici2;e  their 
efforts.  Guerin  is  the  traditional  type  of  the 
big  sturdy  Frenchman,  so  fond  of  Paris  that 
he  leaves  the  city  only  for  a  vacation  of  one 
day  each  year,  and  then  he  goes  no  further 
than  Versailles.  He  is  recogniz^ed  as  one  of 
the  most  brilliant  men  in  a  group  which  in- 
cludes the  delicate  pastellist  Roussel,  the 
painter  of  interesting  interiors  Vuillard,  and 
the  poetical  interpreter  of  race  courses,  Pierre 
Bonnard.  Guerin  is  proud  of  being  a  pupil 
of  that  exotic  genuis  Gustave  Moreau,  and 
he  has  also  been  influenced  by  the  spirits  of 
the  1 8th  Century.  Ce2;anne,  however,  is  his 
great  exemplar  and  he  preached  Ce2;anne's 
principles  to  the  Academic  Moderne,  which 
grew  in  popularity  by  reason  of  the  sound- 
ness of  his  instruction.  It  would  be  well  for 
the  opponents  of  modernity  to  ponder  over 
the  fact  that  Guerin  never  taught  anything 
inconsistent  with  the  teachings  of  Walter 
Shirlaw.  Guerin's  friends  and  confreres,  the 
talented  painters  Pierre  Laprade,  Jules  Fland- 
rin,  Albert  Marquet  and  Othon  Friesz; — all 
of  whom  may  be  remembered  by  visitors  to  the 
Armory  Exhibition — stepped  in  from  time  to 
time,  and  aired  their  views.  Rapport  de 
volume,  rapport  de  valeur,  rapport  de  couleur. 


5 


were  the  refrain  of  their  teachings.  Their 
messages  differed  widely  in  value  and  may 
have  bewildered  some  of  the  students,  but 
Guerin's  artistic  doctrines  were  unquestion- 
ably true  and  healthy.  Each  Summer  the  circle 
would  leave  Paris  and  repair  to  the  Ile-aux- 
Moines,  Cassis  in  the  Midi,  or  to  Fontaney- 
aux-Roses,  to  work  and  strive  without  inter- 
ruption. They  held  an  exhibition  each  Spring, 
and  practically  all  their  work  would  later  be 
shown  as  a  group  at  the  Autumn  Salon,  where 
they  would  be  showing  now,  had  not  the 
Great  War  scattered  them  to  the  corners 
of  the  earth.  Guerin  went  to  the  trenches 
and  Miss  Goldthwaite  remained  in  America. 

Even  before  her  return,  however.  Miss 
Goldthwaite's  etchings  had  found  their  way 
into  the  Congressional  Library  and  other  pub- 
lic collections,  and  she  was  spoken  of  as  a 
remarkable  portrait  painter.  The  justice  of 
the  praise  bestowed  on  her  will  be  apparent 
to  every  visitor  to  her  exhibition.  These  are 
no  mere  flattering  photographs,  or  trembling 
essays,  but  vivid  impressions  of  character. 
They  reveal  a  vision  clear  and  true,  a  method 
free  from  the  slightest  affectation,  a  vigor  of 
touch  and  a  vehement  handling,  rarely  asso- 
ciated with  a  woman's  art.   We  cannot  help 


6 


but  feel  that  these  rugged  virile  portraits  owe 
something,  even  though  indirectly,  to  Van 
Gogh.  When  she  paints  the  landscapes  of 
her  native  state,  the  same  convincing  power 
becomes  manifest.  In  her  beautiful  green 
sunlit  harmonies,  the  luxuriant  foliage  and 
trees  covered  with  hanging  moss  are  treated 
in  a  highly  original  manner,  and  evoke  the 
very  spirit  of  the  South.  In  everything 
she  does,  this  versatile  artist  achieves  that 
rare  thing  we  call  style,  and  she  bears  the 
same  relationship  to  Cezianne  that  Berthe 
Morisot  does  to  Manet  and  his  circle.  One 
will  never  again  think  of  Alabama  with  its 
glittering  bayous,  black  market  women,  and 
great  cotton  bales,  without  recalling  her  paint- 
ings, and  Miss  Goldthwaite  has  done  equally 
fine  things  in  Southern  France.  Contrast 
them  with  the  more  delicate  watercolors,  or 
such  a  little  gem  as  the  "  Nosegay,"  and  you 
reali2;e  that  you  are  in  the  presence  of  a 
genuine  artist  for  whom  it  is  safe  to  predict 
an  interesting  future.  If  Meier-Graefe  should 
ever  revise  his  "Modern  Art''  he  ought 
certainly  to  devote  a  dignified  chapter  to 
Anne  Goldthwaite,  by  the  side  of  the  most 
gifted  men. 

MARTIN  BIRNBAUM 


7 


CATALOGUE 


OIL  PAINTINGS 

1  His  Eminence,  James  Cardinal  Gibbons 

2  The  Late  Monsignor  Robert  Hugh 

Benson 

3  The  Vicar  of  St.  Agnes  (Dr.  Bellinger) 

4  The  Artist's  Brother 

5  William  J.  Guard 

6  Dick 

7  Fraiilein  von  Knapitsch 

8  Miss  Katherine  Dreier 

9  Perdido  Bay 

10  In  Alabama 

11  The  Bayou 

12  Cotton  Bales 

13  The  Balcony 

14  August 

15  The  Nosegay 

16  Self-Portrait 

8 


17  Aunt  Molly  s  Back^Yard 

1 8  On  the  Banks  of  the  Loing 

19  Ile-aux-Moines 

20  Luxembourg  Gardens 

21  Interior 

22  Savannah 

23  Harold  Bauer 

24  Miss  S — 

25  Les  Voyageurs 

26  Miss  Lucy 


WATER  COLOR  PAINTINGS 

27  The  Fountain  (Mobile) 

28  In  Alabama 

29  Grace's  House 

30  En  Champagne 

31  In  the  Pyrenees 

32  The  Fishing  Hole 

33  Aunt  Molly's  Back- Yard 

34  Ile-aux-Moines 

35  The  Market  Woman 

36  The  Red  Hammock 

37  On  the  Sands 


9 


38  Versailles 

39  The  Beach  (Ile-aux-Moines) 

40  The  Church  at  Ascain 

41  The  Parrot 

42  A  Wedding  in  Tenth  Street 

43  The  Jungle 

44  The  Promenade.  Ascain 

45  The  Luxembourg  Gardens 

46  Grace's  Lake 

47  In  Mobile 

48  A  Village  Street 

49  Dans  la  Court  de  Y  Academic  Moderne 

50  A  Church  in  Champagne 

51  Tenth  Street 

52  New  England 

53  The  Bouquet 

54  Cotton  Bales 

55  Apple  Orchard 


10 


ETCHINGS 


56  Moment  Musical  (Schubert)  I 

57  Moment  Musical  (Schubert)  II 

58  Moment  Musical  (Schubert)  III 

59  Nijinsky 

60  Kneeling  Dancer 

61  Petite  Marche  Militaire 

62  Le  Petit  Coq 

63  Dancer  with  a  Veil  I 

64  Dancer  with  a  Veil  II 

65  Dancer  with  a  Veil  III 

66  Egyptian  Dancer  I 

67  Egyptian  Dancer  II 

68  Spring 

69  October  in  France 

70  The  Letter 

71  Miss  Gladys  Baldwin 

72  The  Cock  Fight 

73  The  Bal  BuUier 

74  Hill-side.  Ile-aux-Moines 


II 


75  Alabama 

76  New  York  Harbor 

77  Between  the  Acts 

78  The  Road  to  Fontainebleau 

79  A  Wedding  in  Tenth  Street 

80  Gates  of  the  Luxembourg 

81  Pont  Neuf 

82  The  Ballet 

83  Spanish  Dancer 

84  The  Beach.  Ile-aux-Moines 

85  The  Road  to  Grez 

86  The  Fig  Tree 

87  Study  Head 

88  Church  Yard  in  Brittany 

89  Mother  and  Child 

90  At  Montmartre 

91  Condors 

92  Seated  Dancer 

93  Portrait  Study 

94  Study  Head 


12 


EXHIBITIONS 

OF  THE 

BERLIN  PHOTOGRAPHIC  COMPANY 
305  Madison  Avenue 
Berlin       New  York  City  London 


1911-1915 

AUBREY  BEARDSLEY 
ALFRED  STEVENS 
ALBERT  STERNER 
ERNEST  HASKELL 
CHARLES  CONDER 
WILL  ROTHENSTEIN 
ARTHUR  FREEDLANDER 
MAURICE  STERNE 
GERMAN  GRAPHIC  ART 
NEW  YORK  SOCIETY  OF 

ETCHERS 
CHARLES  RICKETTS  AND 

CHARLES  SHANNON 
HERBERT  CROWLEY 
JULES  PASCIN 

I9I5-I916 

ANNE  GOLDTHWAITE  PAUL  MANSHIP 

STEPHEN  HAWEIS  EMIL  ORLIK 

NEW  WORKS  BY  BAKST 


LEON  BAKST 
PAN  PRESS 
HOKUSAI 
ROBERT  BLUM 
MAHONRI  YOUNG 
PAMELA  C.  SMITH 
HERMAN  STRUCK 
HAMILTON  E.  FIELD 
MARCUS  BEHMER 
MUHAMMADAN  ART 
GRAPHIC  ART  IN  AUSTRIA- 
HUNGARY  AND  BOHEMIA 
MAX  BEERBOHM 
EDNA  B.  HOPKINS 
EDITH  W.  BURROUGHS 


